Earliest historical records demonstrate that music was an inseparable part of religious ceremonies. Plato and Pythagoras taught the world to understand that the whole spiritual and physical universe was the understanding of numbers. So the system of music, sounds, and rhythms, being ordered by numbers, was conceived as exemplifying the harmony of the cosmos and corresponding to it. The most important aspects of Greek thoughts on music is “that there is a power in music akin to the power of words for influencing human thought and action and that therefore an artist, whether in music or words, is under obligation to exercise use of this power with due respect for its effect on others. Music or vibration could heal sickness, purify the body and mind and work miracles in the realm of nature” (History of Western Music, 3rd ed. Donald Jay Grout, pg 2-11). Similar powers attributed to music may also be found in the Old Testament: David cures Saul's madness by playing the harp (I. Samuel XVI: 14-23) or of the trumpet blasts and shouting that toppled the walls of Jericho (Joshua VI: 12-20).
The great composers of the Baroque, Classical and Romantic eras tuned their instruments through their own genius ear in what resonated with nature. In 1919 it was decided to standardize the tuning system of Western music so that all instruments could play together. This 12 tone Equal Temperament System based on man-made standards in which A was equal to 440 Hz has continued to the present time.
If our present diatonic scale is not in harmony with mankind or nature, then it would be imperative to create a system that is. Dissonant and unharmonious vibrations or sounds may create anxiety, tension, health problems, mental disorders, emotional disorders, and a feeling of disconnectedness to the universe.
The present diatonic system of Western music is a tonal system in which specific notes such as the tonic, dominant and leading notes have more importance than the other notes. However, the dominant-seventh chord is the most “unstable” chord in music writing and demands resolution to the tonic.
In terms of music, “harmony” may be described as the sound of two or more notes heard simultaneously, to produce chords, and their successive use to produce chord progressions. The term may not be disassociated with the rhythmic aspects of music. For example, the use of dissonance and consonance creates tensions generating a powerful forward momentum. Harmony may also provide punctuation marks in the form of cadences, simple readily recognizable chord progressions that mark a natural end to a phrase in a stereotyped way.
Harmony may be more developed in Western music than in any other region. Different eras of Western music have held different ideas as to what kinds of harmony are acceptable or good. For example:    1. In the Middle Ages (450-1450), the concept of harmony concerned combinations of two notes, open 5ths and octaves.    2. In Medieval and early Renaissance (1450's) music, even a full major triad was felt inappropriate for the last chord of a piece which normally would embody the final note (in more than one octave) and the 5th above it.    3. In the Renaissance (1450-1600), three-note harmony became the norm and the triad had become the main unit of harmony. This remained the basic element in Western harmony until the 20th Century, even when harmony was composed in four parts or more.    4. From the beginning of the Baroque era (c1600) harmony was widely understood as the chords with which a melody was accompanied (basso continuo or figured bass).    5. From the 1600-1900's full triads were usual for concluding chords. Harmony was sometimes seen as the “opposite” of counterpoint, because it primarily operates vertically, whereas counterpoint seemed to operate horizontally. The two were not opposed: most contrapuntal writing, especially in the 1600-1900 period, was governed by harmonic progression while, equally, harmony was concerned with the movement of individual voices.    6. In the 19th Century, there was much more chromatic alteration of notes being used, particularly by Wagner.    7. In the 20th Century, composers treated dissonance more freely and felt it was unnecessary to resolve chords, which in earlier eras would have been considered dissonant. The principles of triadic harmony were under attack from Bartok who, inspired by the folk music from which he came, was constructing chords based on the interval of a 4th. Schoenberg used first atonal and then 12 note methods of composition. Stravinsky composed predominantly tonal music and left dissonances unresolved to tease the ear. There was the birth of a “world music” culture.    8. In the 21st Century, there may be a desire to recapture music's original purpose of divination and to restore the Sacredness back into the musical world. There may be also growing awareness that we are not tuning our instruments in “harmony” with the “ALL”.
As such, another definition of “harmony” surges, which may be described as a satisfying arrangement marked by even distribution of elements, as in design, proportion, and symmetry.
For the general populations to hear more harmonious sounds may be beneficial on all levels of being. A more harmonious, atonal system may open up a new category of study of music for the “seasoned” musicians, a less complicated study with a focus on creating and healing (and not on performance), and may allow people who would not otherwise play musical instruments to have this option.
Music has always been a reflection of the culture that gave rise to it and a reflection of what was going on in the world, politically, socially, and philosophically. Playing atonal, modal music, in which all tones are in harmony with each other and with nature, may reflect and enhance the move of the world towards unity, with less division among races, nations and peace and harmony among all, as well as living intentionally knowing that we are all affected and affect each other by the sounds around us. Therefore, an improved harmonious musical device would be beneficial.
Sacred Geometry can be defined as an ancient science that explains the energy patterns behind creation and the unification of all things. On every scale, every natural pattern of growth or movement conforms inevitably to one or more geometric shapes. Although it is found within the entire universe, the more obvious can be seen in snakeskin, flower petals, DNA, cornea of our eye, a nautilus shell, snowflakes, and so forth.
Sacred Geometry may also be defined as the relationship between number, proportion, astronomy and music and it is so harmoniously proportionate, thus constructed in the most beautiful method, people travel great distances to admire it. Examples of Sacred Geometry in architecture can be seen in the Egyptian pyramids, or the great Cathedrals, or the Parthenon, Acropolis, Athens that fits almost precisely into a golden rectangle. The Fibonnaci Series is part of the Sacred Geometry. If one divides any number in the Fibonacci sequence by the one before it, the result approaches the number phi (φ) 1.61803 . . . . For example 55/34, or 21/13. This ratio is known as the Golden Ratio.
Today, architects, and artists proportion their work to approximate the Golden Ratio, especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio, believing this proportion to be aesthetically most pleasing.
Modern medicine presently uses frequency devices and technology which include many frequencies, and complicated procedures for healing and diagnostic purposes. Research into a more complete system of healing frequencies may not only simplify, and enhance the present technology, but also the recovery or prevention of disease may change profoundly.
Therefore, what is needed is a new harmonious system which would involve creating a new category of musical instruments or devices tuned with a new harmonious scale. What is also needed is a new set of instruments which incorporate the sacred geometry. Harmonious vibrations may serve to create feelings of peace, love, harmony, health and wellness amongst humans, animals and nature.